RESOURCEBOOKcurator / garret steider

/curator / garret steider

resource book / table of contents

websitesDesignisHistory.com

Designspiration.net

Aisleone.net

Swisslegacy.com

Behance.net

From Up North

the99percent.com

untcomdes.blogspot.com

aiga.org

dsvc.org

designishistory.com

fontsinuse.com

booksMegg’s History of Graphic

Design

Graphic Design: A Critical

Guide

Graphic Design Refer-

enced

Thinking With Type

Communication Arts

Archive

Print Magazine

Graphis Magazine

Eye Magazine

Saul Bass: A Life in Film

and Design

Elements of Typography

Graphic Design: A New

History

Symbol

tutorialsArtist Poster

Vintage Effect

RAWZ lighting effect

palettesGotham

PB&J

Miami

Pink Arctic

typographyUniver

Ziggurat

Akzidenz Grotesk

Futura

artifactsRequiem For a Dream

1979 Graphis Diagram

1976 Olympic Identity

Fruita Blanch Package

Scott Pilgrim vs The World

photographersHenri Cartier-Bresson

Vik Muniz

Annie Leibovitz

illustratorsTy Wilkins

Paul Tebbott

Fernando Volken Tolgi

designersSaul Bass

Paul Rand

Dieter Rams

Alvin Lustig

Designers / Illustrators / Photographers

Design Artifacts / Typography

Color Palettes / Tutorials

Resources /

Table of Contents/

resource book / designers

Designers

Illustrators

Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources

/

/SaulBass

Biogr aphy /Opened Saul Bass & Associates 1955, Saul Bass was a

graphic designer and filmmaker, best known for his design

of film posters and motion picture title sequences. During

his 40-year career Bass worked for some of Hollywood’s

greatest filmmakers, including Alfred Hitchcock, Otto

Preminger, Billy Wilder, Stanley Kubrick and Martin

Scorsese. Amongst his most famous title sequences are

the animated paper cut-out of a heroin addict’s arm for

Preminger’s The Man with the Golden Arm, the credits

racing up and down what eventually becomes a high-angle

shot of the United Nations building in Hitchcock’s North

by Northwest, and the disjointed text that races together

and apart in Psycho. Bass designed some of the most

iconic corporate logos in North America, including the

AT&T “bell” logo in 1969, as well as AT&T’s “globe” logo in

1983 after the breakup of the Bell System. He also designed

Continental Airlines’ 1968 “jetstream” logo and United

Airlines’ 1974 “tulip” logo which became some of the most

recognized airline industry logos of the era.

1920-1995 / the bronx, ny / saul bass and associates / saulbass.tv

resource book / designer / saul bass

/

resource book / designer / paul rand

Paul Rand

biography /Paul Rand (Born Peretz Rosenbaum, August 15, 1914 –

November 26, 1996) was a well-known American graphic

designer, best known for his corporate logo designs.

Rand was educated at the Pratt Institute (1929-1932), the

Parsons School of Design (1932-1933), and the Art Students

League (1933-1934). He was one of the originators of the

Swiss Style of graphic design. From 1956 to 1969, and

beginning again in 1974, Rand taught design at Yale Uni-

versity in New Haven, Connecticut. Rand was inducted

into the New York Art Directors Club Hall of Fame in

1972. He designed many posters and corporate identities,

including the logos for IBM, UPS and ABC. Rand died of

cancer in 1996

As Orthodox Jewish law forbids the creation of graven

images that can be worshiped as idols, Rand’s career

creating icons venerated in the temple of global capitalism

seemed as unlikely as any. It was one that he embraced at

a very young age, painting signs for his father’s grocery

store as well as for school events at P.S. 109. Rand’s father

did not believe art could provide his son with a sufficient

livelihood, and so he required Paul to attend Manhattan’s

Harren High School while taking night classes at the

Pratt Institute, though “neither of these schools offered

Rand much stimulation.” Despite studying at Pratt and

other institutions in the New York area (including Parsons

School of Design and the Art Students League), Rand was

by-and-large “self-taught as a designer, learning about the

works of Cassandre and Moholy-Nagy from European

magazines such as [Gebrauchsgraphik].

1914-1996 / brooklyn, ny / paul rand / paul-rand.com

/

resource book / designer / dieter rams

Dieter Rams

biography /Rams studied architecture at the Werkkunstschule

Wiesbaden as well as learning carpentry from 1943 to 1957.

After working for the architect Otto Apel between 1953

and 1955 he joined the electronic devices manufacturer

Braun where he became chief of design in 1961, a position

he kept until 1995.

rams’ ten principles of good designGood design: Is innovative

Good design: Makes a product useful

Good design: Is aesthetic

Good design: Makes a product understandable

Good design: Is unobtrusive

Good design: Is honest

Good design: Is long-lasting

Good design: Is environmentally friendly

Good design: Is as little design as possible — Less, but

better — because it concentrates on the essential aspects,

and the products are not burdened with non-essentials.

Back to purity, back to simplicity.

1932 / wiesbaden, hessen / braun / dieter rams: as little design as possible (book)

/

resource book / designer / alvin lustig

Alvin Lustig

biography /Alvin Lustig was an American graphic designer and

typeface designer. He studied at Los Angeles City College,

Art Center, and independently with Frank Lloyd Wright

and Jean Charlot. He began designing for books in 1937.

In 1944 he became Director of Visual Research for Look

Magazine. He also designed for Fortune, New Direc-

tions and Girl Scouts of America. He began teaching in

1945. Lustig developed diabetes as a teenager. He later

went blind as a result of diabetes in 1954. He developed

Kimmelstiel-Wilson syndrome, an incurable kidney

disease connected to diabetes. Lustig died at the age of 40

of diabetes related complications on December 4, 1955. He

was inducted into the Art Directors Club Hall of Fame in

1986. In 2010, a book showcasing his art career came out:

Born Modern: The Life and Design of Alvin Lustig. With

the current interest in American design history, it is fitting

that Alvin Lustig be honored for his significant influence

on American design and design education. His wide-rang-

ing work from the 1940s and early 1950s included book

and book jacket design, magazines, letterheads, catalogs,

signage, furniture and lighting, textiles, interior design,

logos, identity programs, sculpture and architecture. This

diversity mirrored a philosophy that eschewed specializa-

tion and embraced synthesis. For Lustig, all design projects

involved problem solving and all solutions were found in

form and color.

1915-1955 / denver, colorado / look magazine / alvinlustig.com

/

resource book / illustrators

Designers

Illustrators

Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources

/

/TyWilkins

biography /Ty Wilkins is an independent graphic designer and il-

lustrator living in Austin, Texas. Prior to striking out on

his own, Ty worked for Gardner Design where we had the

opportunity to redesign LogoLounge. A complete typoma-

niac, Ty is also the founder and editor of the contemporary

typography blog Type Theory. Ty’s illustration and design

work have been recognized by Grain Edit, Uppercase

Magazine, Drawn, DesignWorkLife, Pikaland, Graphic

Exchange, the Charley Harper Blog, HOW Magazine and

numerous other publications. Ty graduated with a BFA

in graphic design from Auburn University in 2003 and

before that lived in Buenos Aires, Argentina for two very

formative years where he developed a passion for Spanish

and international travel. He currently teaches Typography

for the Academy of Art University online undergraduate

program. Ty spends his free time illustrating, drawing and

collecting books by mid-century modern illustrators. Ty

is curious, obsessed and extraordinarily passionate. Type

Theory is a journal of contemporary typography featuring

news, views, reviews and interviews.Ty Wilkins founded

Type Theory in January of 2009

austin, tx / ty wilkins illustration and design / tywilkins.com

resource book / illustrator / ty wilkins

/

resource book / illustrator / paul tebbott

Paul Tebbott

biography /Paul Tebbott is a visual artist, illustrator and designer from

Manchester, UK. His work has been featured on Grain

Edit and the blog site ISO. I personally love the minimal

style of his work that incorporates bold colors and inter-

esting compositions.

manchester, uk / chemtrail / cargo-collective.com/paultebbott/About

/

resource book / illustrator / fernando volken togli

Fernando V. Togli

biography /Fernando Volken Togni is a Brazilian graphic designer and

illustrator living in Porto Alegre. He develops intricate

compositions which combines soft vector shapes, organic

swirls and harmonious colors. Fernando says, he likes to

use eye-catching bold shapes that express vivid energy

and the idea of a simple thing that’s full of meanings. Read

more about him in this interview.

Hello, I am graduated in Advertising but I have always

worked with graphic design, brand and packaging at ad-

vertising agencies here in Porto Alegre, southern Brazil. I

was born in Roca Sales, a small town but I moved to Porto

Alegre to study and work. I always liked art and drawings,

so about five or six years ago I started to develop my own

illustration style because I always loved to work with

vector software. I’ve loved illustration and art since I was

a child. I decided to study advertising about ten years ago,

because I thought it was something I could succeed at.

I almost studied arts, but I never gave up, I am sure that

in the future I will study and maybe work with it. Over

the last six years I worked more with illustration software

at advertising agencies and that made me to develop my

own style to illustrate. It was a simple process, but I never

thought it would work, I didn’t see myself doing it for a

living, I used to think I would always work as a designer.

1984 / porto algre, brazil / freelance / fernandovt.com

/

resource book / photographers

Designers

Illustrators

Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources

/

resource book / photographer / henri cartier-bresson

Henri C. Bresson

biography /Henri Cartier-Bresson (August 22, 1908 – August 3, 2004)

was a French photographer considered to be the father

of modernphotojournalism. He was an early adopter of

35 mm format, and the master of candid photography.

He helped develop the “street photography” or “real

life reportage” style that has influenced generations of

photographers who followed. Cartier-Bresson was born in

Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of

five children. His father was a wealthy textile manufac-

turer, whose Cartier-Bresson thread was a staple of French

sewing kits. His mother’s family were cotton merchants

and landowners from Normandy, where he spent part of

his childhood. The Cartier-Bresson family lived in a bour-

geois neighborhood in Paris, near the Europe Bridge. They

were able to provide him with financial support to develop

his interests in photography in a more independent man-

ner than many of his contemporaries. Cartier-Bresson also

sketched in his spare time.

Cartier-Bresson’s, The Decisive Moment,the 1952 US

edition of Images à la sauvette. The book contains the

term “the decisive moment” now synonymous with

Cartier-Bresson: “There is nothing in this world that does

not have a decisive moment.” Cartier-Bresson achieved

international recognition for his coverage of Gandhi’s

funeral in India in 1948 and the last (1949) stage of

theChinese Civil War. He covered the last six months of

the Kuomintang administration and the first six months of

the Maoist People’s Republic. He also photographed the

last surviving Imperial eunuchs in Beijing, as the city was

falling to the communists.

1908-2004 / paris, france / photogra-pher / henricartierbresson.org

/

resource book / photographer / vik muniz

Vik Muniz

biography / Vicente José de Oliveira Muniz, known as Vik Muniz

(Portuguese pronunciation: [vik-mu-nis]; born 1961, São

Paulo, Brazil), is a visual artist living in New York City.

Muniz began his career as a sculptor in the late 1980s.

Muniz became best known for his 1997 series Pictures of

Chocolate and 2006’s Pictures of Junk.

In 2010, the documentary film Waste Land, directed by

Lucy Walker, featured Muniz’s work on one of the world’s

largest garbage dumps, Jardim Gramacho, on the outskirts

of Rio de Janeiro. The film was nominated to the

Academy Award for Best Documentary Feature at the

83rd Academy Awards.

Vik Muniz often appropriates the images that serve as the

basis for his artworks from works by other well known

artists. For example, Muniz used jelly and peanut butter

in the creation of the work Double Mona Lisa, After

Warhol, 1999, based on a 1963 screen print by pop artist

Andy Warhol and which, in turn, was an appropriation of

Leonardo da Vinci’sMona Lisa. He also made a portriat

out of spaghetti and portriats of children that were made

out of salt.

1961 / sao paulo, brazil / sculptor & photographer / vikmuniz.net

/

resource book / photographer / annie leibovitz

Annie Leibovitz

biography /Photographer. Born Anna-Lou Leibovitz, on October 2,

1949, in Waterbury, Connecticut. She was one of the six

children born to Sam, an Air Force lieutenant, and Marilyn

Leibovitz, a modern dance instructor. In 1967, Leibo-

vitz enrolled at the San Francisco Art Institute, where

(although initially studying painting) she developed a love

for photography.

After living briefly on an Israeli kibbutz, Leibovitz

returned to the U.S., in 1970, and applied for a job with the

start-up rock music magazine Rolling Stone. Impressed

with Leibovitz’s portfolio, editor Jann Wenner offered her

a job as a staff photographer. Within two years, the 23-year-

old Leibovitz was promoted to chief photographer - a title

she would hold for the next 10 years. Her position with the

magazine afforded her the opportunity to accompany the

Rolling Stones band on their 1975 international tour.

While with Rolling Stone, Leibovitz developed her trade-

mark technique, which involved the use of bold primary

colors and surprising poses. Wenner has credited her

with making manyRolling Stone covers collector’s items,

most notably an issue that featured a nude John Lennon

curled around his fully clothed wife,Yoko Ono. Taken on

December 8, 1980, Leibovitz’s photo of the former Beatle

was shot just hours before his death.

1949 / waterbury, ct / vanity fair, rolling stone / vanityfair.com

/

resource book / design artifacts

Designers

Illustrators

Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources

/

resource book / design artifacts / requiem for a dream

Poster DesignName / Requiem For A DreamDate / Produced 2011

Client / The Silver Screen Society

Designer / Mike McQuade

Discipline / Poster Design

Description: An awesome wood type poster paying

homage to Darren Aronofsky’s Requiem For A Dream.

The combination of objects that form the face greatly

contrast with the type. Each image in the poster is fun to

look at and you can always find new details you hadn’t

discovered before.

/

resource book / design artifacts / graphis diagrams

Graphis

Name / Graphis DiagramsDate / Produced 1979

Client / Graphis Magazine

Designer / Walter Herdeg

Discipline / Publication Design

Description / A beautiful publication on information

design and the use of Swiss Style. If only I could get my

hands on this beauty.

/

resource book / design artifacts / montreal olympic logo 1976

Olympic Logo ‘761976 Montreal Olympic Logo designed by Georges Huel and Pierre-Yves Pelletier.Name / 1976 Olympic Identity Mark

Date / Produced 1976

Client / Montreal Olympic Committee

Designer / Georges Huel and Pierre-Yves Pelletier

Discipline / Identity and Branding

Description / In my poinion one of the best olypic

marks designed to date. The influence of the International

Typographic Style is clearly seen in the logo. It is timeless

and a whole hell of a lot better than recent marks for the

Olympic games.

/

resource book / design artifacts / fruita blanch packaging

Package DesignName / Fruita Blanch PackagingDate Produced / 2011

Client / Fruita Blanch

Designer / Atipus studio

Discipline / Packaging

Description / Simple no non sense packaging. The

orange of the product contrasts well with the rich grey and

parchment color of the label. A custom typeface was used

and designed by the studio. The packaging has a retro feel,

but also looks very modern in its simplicity.

/

resource book / design artifacts / scott pilgrim v the world

Title SequenceScott Pilgrim Vs the World Title SequenceName / Scott Pilgrim vs The World Title Sequence

Date / Produced: 2010

Client / Universal Pictures

Designer / Title Sequence Design: Shynola Creative

Director / Richard Kenworthy Main Title Graphics and

Flashback Animated Sequences : VooDooDog Title Direc-

tor: Andrew White Producer:David Z. Obadiah Design:

Andrew White, Roger Philips Animation: Alice Dupre,

Maki Yoshikura

Discipline / Motion

Description / An epic and very fitting title sequence for

the fantastic movie Scott Pilgrim vs The World. Chaotic,

spastic, retro, and overall a visual feast, the title sequence

accurately depicts the mood and style of the film which is

what a title sequence should do. The only complaint is the

kerning on some of the names is way off.

/

resource book / typography

Designers

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Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources

/

resource book / typography / univers

Univers

Date / Produced: 1957

Client / Deberny & Peignot

Designer / Adrian Frutiger

Type Style: / Sans Serif

Description / Univers is one of a group of neo-grotesque

sans-serif typefaces, all released in 1957, that includes

Folio and Neue Haas Grotesk (later renamed Helvetica).

These three faces are sometimes confused with each other,

because each is based on the 1898 typeface Akzidenz-

Grotesk. These typefaces figure prominently in the Swiss

Style of graphic design.

Different weights and variations within the type family

are designated by the use of numbers rather than names,

a system since adopted by Frutiger for other type designs.

Frutiger envisioned a large family with multiple widths and

weights that maintained a unified design idiom. However,

the actual typeface names within Univers family include

both number and letter suffixes.

Currently, Univers type family consists of 44 faces, with 16

uniquely numbered weight, width, position combinations.

20 fonts have oblique positions. 8 fonts support Central

European character set. 8 support Cyrillic character set.

Despite the large family of widths, the @ mark is not

rescaled by width.

/

resource book / typography / ziggurat

Ziggurat

Date / Produced: 2000

Client / Hoefler Frere-Jones

Designer / Hoefler Frere-Jones

Type Style / Slab Serif

Description / Ziggurat is the cornerstone of The Proteus

Project, a collection of four interchangeable type families

designed in different nineteenth century styles.

Not explicitly a revival of any one typeface, Ziggurat

takes its cues from the entire aesthetic of early slab serif

(or “Egyptian”) metal types, primarily those produced in

Great Britain between 1815 and 1840.

/

resource book / typography / akzidenz grotesk

Akzidenz GroteskDate / Produced: 1898

Client / Berthold Type Foundry

Designer / Günter Gerhard Lange

Type Style / Sans Serif

Description / The design of Akzidenz-Grotesk was

theorized to be derived from Walbaum or Didot, as

demonstrated by the similar font metrics when the serifs

are removed. However, the font family also included fonts

made by other foundries, such as the c. 1880 typeface

Royal Grotesk Light from the Berlin foundryFerdinand

Theinhardt Schriftgiesserei, designed by Ferdinand Thein-

hardt for the scientific publications of the Royal Prussian

Academy of Sciences in Berlin. FTS also supplied the

regular, medium and bold weights of the typeface. While

Hermann Berthold took over Theinhardt’s Berlin foundry

in 1908, it wasn’t until the fall of the Prussian monarchy

in 1918 that Royal Grotesk was published as part of the

Akzidenz-Grotesk font family and renamed Akzidenz-

Grotesk Condensed.

/

resource book / typography / futura

Futura

Date / Produced: 1927

Client / Bauer Type Foundry

Designer / Paul Renner

Type Style / Sans Serif

Description / Futura has an appearance of efficiency and

forwardness. The typeface is derived from simple geo-

metric forms (near-perfect circles, triangles and squares)

and is based on strokes of near-even weight, which are low

in contrast. This is most visible in the almost perfectly

round stroke of the o, which is nonetheless slightly ovoid.

In designing Futura, Renner avoided the decorative,

eliminating non-essential elements. The lowercase has tall

ascenders, which rise above the cap line. The uppercase

characters present proportions similar to those of classical

Roman capitals.

/

resource book / color palette

Designers

Illustrators

Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources

/

resource book / color palette / gotham

Gotham

Slick, cool, Classic, Batman, gritty, crime,

/

resource book / color palette / pb&j

PB&J

Peanut butter and jelly, fun, summer, indie band, music, easy going,

/

resource book / color palette / miami

Miami

hurricanes, beach, the U, fun, south beach, football,

/

resource book / color palette / pink arctic

Pink Arcticcold, mysterious, cool, chic, sophisticated, awesome, modern

/

resource book / tutorials

Designers

Illustrators

Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources /

resource book / tutorials / the artist poster

The Artist Poster/ Abduzeedo.com designed by Fabio Sasso

step 1Draw rectangles in illustrator. Make sure they resemble or are similar to the first image on the page. color them that tan color for realzzz.

Step 6Add a new layer and fill it with key [black]. After that go to Filter>Noise>Add Noise. Use 45% for the Amount with Gaussian for the Distribution and Monochromatic. Do not play metal music at night.

step 2 Duplicate rectangles until you create a city scape of your choosing.Play around with perspective and vary height and the width of the buildings.

step 4Main building: create a layer on top and then go to Layer>Create Clipping Mask. With theBrush Tool (B) and a very soft brush, paint with white to create a sort of radial light effect coming from the bottom. Repeat for other buildings

Select all buildings and light effect layers, then duplicate them. Go to Layer>Merge Layers. After that go to Edit>Transform>Flip Vertically. Then go to Filter>Blur>Gaussian Blur. Use 10 for the radius.

Step 7Image>Adjustement>Levels. Change the black input to 160 the grey to 1.00 and the white to 205. That will create a multitude of stars in the black background. This is an elegant way to tackle sensitve design.

Step 9Now just add your text. I used a font called Andes for that. Also duplicate the background and the buildings then merge them into a new layer. Go to Filter>Blur>Gaussian Blur.

Use 10 for the amount. Change the Blend Mode of this layer to Overlay at 50% Opacity. Duplicate it again and change the Blend Mode of the new one to Soft Light at 60%.

step 3Time to jump into the magnificant Photoshop. Copy the main building and paste it into an Adobe Illustrator file.

step 5Fill the background layer with black. Then fill the rest of this text box with aranious text. For example Lorem ipsum la di da one two three four five six seven eight. The 20’s were great, and so was the movie “The Artist.”

Step 8Add a white frame to the design.Create a new layer and fill it with black. Go to Layer>Layer Styles>Stroke. Use 70px for the Size and white for the color. Change the Blend Mode to Screen.

ConclusionTime to add some paper texture on top of the all layers to add the nice vintage look. I used two paper textures using Overlay and Multiply for the Blend Mode.

resource book / tutorials / vintage photo effect

Vintage Photo Effect/by Veerle.duoh.com designed by Veerle Pieters

step 1Hue/Saturation preset Old Style and Red Boost Saturation to -40 and Contrast to 54. Adjust Levels . First place the image in a separate layer. In the Layers palette make the Adjustment layer and make an “S” curve.

step 5The Levels have been tweaked a lot.

step 2 Add Contrast and Satura-tionIn the Layers palette click the Adjustment Lay-ers menu icon and select Brightness/Contrast. Set the Contrast to +20. Click the Adjustment Layers menu icon again and select Hue/Saturation.

step 6Very visible lens correction effect.

step 3Set the Saturation to +20.Adjust Curves. Select Green from the Channel dropdown menu and adjust the curve as shown in the image below. Now select Blue from the Chan-nel dropdown menu and adjust the curve.

step 4Apply Lens Correction and Vignette effectSelect the layer with your photo, go to the Filter menu and select Convert for Smart Filters. In the Vignette option set the Amount to -75 and the Midpoint to +75. Hit the OK button. You’ll see the Smart Filter appear below the layer. Double clicking

the slider icon on the right will give you the option to adjust the Layer Mode and the Transparency of the effect on the layer. Set the value to 70%. Add some Old Style. In the Layers palette click the Adjustment Layers menu icon again and select Hue/Saturation. Select Old Style Change the opacity

of this adjustment layer to 50%. Add Red Boost Depending on the result you’re after, you could add another Hue/Saturation Adjustment Layer on top of this and choose the preset option Red Boost (which sets the Hue to -5 and the Saturation to +20).

you’re finished!

resource book / tutorials / rawz lighting effect

RAWZ Lighting FX/ by Fabio Saasso on Abduzeedo.com

Step 1Fill the background layer with black. Create a new document and using the Rectangle Tool (U) create squares in black, grey and dark grey. Go to Edit>Define Pattern.

Step 4Go to Layer>Layer Style. Select Drop Shadow. For the Blend Mode use Color Burn at 50% Opacity, 90• for the Angle, 2 pixels for Distance and 5 pixels for the Size. You want to try to make it as real and believ-able as possible.

Step 7Selec Outer Glow. For the Blend Mode use Screen, for the Opacity use 100% and blue (#00a2ff) for the color. Change the Spread to 0 and the “Size to 9 pixels. Select Inner Glow. in the FX options.

Step 10Add a new layer inside the folder with color dodge and fill it with the carbon fiber pattern. Create a marquee selection of the neon layer by clicking on the thumbnail of the layer. Go to Layer>Layer Mask>Reveal Selection.

Step 2Then go toLayer>Layer Style>Gradient Overlay. Use dark grey for the colors. The darker one will be at the bottom. Also change the Blend Mode to Multiply.

Step 5Select Stroke at 3 pixels for the Size, Inside for the Po-sition, 95% for the Opacity and then for the color use #5c7a92, #000000, #5c7a92, #5c7a92, #000000, #5c7a92. For the Style use Linear and for the Angle use 90º.

Step 8Use Lighten for the Blend Mode with cyan for the color. Also select Edgeand change the Size to 10 pixels. Over the Quality change the Contour to the same as in the image. Re-fer to the bottom image.

Step 11Select all layers and duplicate them, after that merge all the new layers into one and go to Filter>Blur>Gaussian Blur. Make sure you group keep your layers grouped. It will help you be organized. Use 10 pixels for the Radius.

Step 3Select Pattern Overlay, then for the Pattern select the Carbon Fiber we cre-ated in the previous steps. Also change the Scale to 60%. Now we can start to see it developing.

Step 6Apply the neon effect and go to Layer>Layer Style. Select Drop Shadow. Use black, with Color Burn for the Blend Mode at 100% for the Opacity. For the Angle use 90º and then 2 pixels for the Distance and 3 pixels for the Size.

Step 9Add a new layer. Change the folder’s Blend Mode to Color Dodge and then with the Brush Tool and a very soft brush, 0 hard-ness, and then paint some spots over the neon to create light spots.

Step 12Duplicate the blurry layer again, change the Blend Mode of the one that is underneath to Overlay and the top to Screen. Change the Opacity to 50%.Go to Layer>New Adjustment Layer>Photo Filter. Use Cyan Filter at 50% density.

resource book / books & sites

Designers

Illustrators

Photographers

Design Artifacts

Typography

Color Palette

Tutorials

Resources /

resource book / resources / books & sites

Communication Arts

Graphic Design Rreferenced by Gomez-Polacio & Vit

swisslegacy.com

untcomdes.blogspot.com

Graphis

The Elements of Typographic Style by Robert Eringhurst

aisleone.net

aiga.org

Meggs’ History of Graphic Design

Eye Magazine

Saul Bass: A Life in Film & Design by Jennifer Bass

Behance.net

dsvc.org

Graphic Design: A New History

Luzer’s Arhcive

Symbol by Angus Hyland

the99percent.com

fontsinuse.com

Graphic Design History: A Critical Guide

Print Magazine

Thinking with Type by Ellen Lupton

Designishistory.com

underconsideration.com

/Books & Sites

/